La Bella Principessa and the Warsaw Sforziad Pascal Cotte1 and Martin Kemp2 Introduction In 2010, we published a book on an exceptional portrait on vellum executed in inks and coloured chalks.3 The portrait had been sold as a German early 19th-century Head of a Young Girl in Profile to the Left in Renaissance Dress at a Christie’s sale in New York on 30 January 1998. Estimated as worth $12,000 – 16,000, it sold to the dealer Kate Ganz for $21,850, which is a high price for an anonymous 19th-century German drawing in an archaic mode. This compares to a price of $6,755 for a signed and dated Overbeck drawing of the Virgin and Child at Christie’s on 21 November 1996. 1 Engineer, Scientific Director, Lumiere Technology, Paris : www.lumiere- technology.com 2 Emeritus Professor, Trinity College, Oxford University. 3 Kemp M., Cotte P., La Bella Principessa. The Story of the New Masterpiece by Leonardo da Vinci, London, 2010 (with a Preface by Nicholas Turner), which contains a review of the evidence available at that time. The current owner, who purchased it from Ganz for the price she had paid for it, intuited that it was an original Renaissance portrait, possibly by Leonardo da Vinci. This attribution that was confirmed by Nicholas Turner, Carlo Pedretti, Alessandro Vezzosi, Mina Gergori, Cristina Geddo and others.4 The chief opposition came from the New York experts and observers who had “missed” it when it was in the hands of Christie’s and Ganz, and unsurprisingly from Christie’s, who were subject to legal action from Jeanne Marchig, who had consigned the drawing for sale. Mme Marchig has over a number years been selling works of art owned with her late husband, Gianino Marchig, painter and restorer. The proceeds from her sales went to support her animal charities. Gianino Marchig worked in Florence and then in Geneva, to which he moved in 1953/4. Although the portrait was in a nice Italian frame (subsequently removed by Christie’s), he kept it in a portfolio. Some years after her husband’s death, Mme Marchig hung it on a wall in her study. Gianino Marchig worked internationally as a respected restorer, and in 1976 undertook major conservation on one of the two prime versions of Leonardo’s Madonna of the Yarnwinder, then owned by Wildenstein’s in New York.5 He was of the opinion that the portrait was by Domenico Ghirlandaio, which is understandable, given its affinities with Ghirlandaio’s refined profile portraits of aristocratic Florentine women.6 At the time of the writing of the book, the ownership of the portrait before 1998 was not known, leaving it’s supporters open to the charge that it might be a recent forgery undertaken with knowledge of modern technical examinations of Leonardo’s paintings – even though the modern technical examination of the portrait itself seemed to preclude this. The vellum was at some point laid down on an old oak board (fig. 1), which has been repaired on two occasions with butterfly joints. Jeanne Marchig identified the later pair of untinted joints as characteristic of those made by hand by Gianino. The portrait has been subject to at least two campaigns of restoration, including that by Marchig over 50 years ago. It seems likely that the vellum had been laid down on the panel long before it entered his hands. On the reverse are two customs stamps: DOUANE CENTRALE/ EXPORTATION[?]/ PARIS. This stamp seems to have been introduced in 1864 but it is unclear when it ceased to be used in this form. The likelihood is that it is not later than the early 20th century. In any event, the stamps indicate the presence of the panel in France, presumably with its attached portrait and probably framed (as indicated by the brown paper strips around its margins). Whether it was owned for a period in France or imported temporarily is unclear. 4 For references to opinions and publications, see Kemp and Cotte, La Bella, especially the introduction by Nicholas Turner. 5 Martin Kemp and Thereza Wells, Leonardo da Vinci’s Madonna of the Yarnwinder, forthcoming. 6 For these and other profile portraits in the later 15th century, see Paola Tinagli, Women in Italian Renaissance Art. Gender, Representation, Identity, Manchester, 1997, pp. 47-83. Fig. 1. Rear of the Panel of which the Portrait is Mounted The possibility of matching the portrait to a surviving volume did not seem not encouraging, but David Wright, Emeritus Professor of Art History at the University of South Florida, wrote suggesting that it might well have come from one of the three or four surviving versions of the eulogistic history of Francesco Sforza by Giovanni Simonetta printed on vellum and richly illuminated. Professor Wright specifically pointed to the copy in the National Library in Warsaw.7 Simonetta’s eulogy, written in 7 Giovanni Simonetta, Commentarii rerum gestarum Francisci Sfortiae. La Sforziada, with additions by Franciscus Puteolanus and Franciscus Philelphus, trs Christophorus Landinus, Milan, Antonius Zarotus, 1490. For the Warsaw copy, Inc. F 1347, see http://polona.pl/dlibra/doccontent2?id=27757&from=&from=generalsearch&dirid=1&l ang=pl. The copy in the Bibliothèque Nationale, Paris is Imprimés, Réserve, Vélins 724. The copy in theBritish Library is G.7251 . The Uffizi fragments are nos. 843, 4423-4430. For the Sforziads on vellum and further bibliography, see Mark Evans, 'New Light on the "Sforziada" Frontispieces of Giovan Pietro Birago', British Library Journal, XIII, 1987, pp. 232-47, where he reconstructs the Uffizi frontispiece; and Elizabeth McGrath, “Ludovico il Moro and His Moors”, Journal of the Warburg and Courtauld Institutes, LV, 2002), pp. 67-94. the mid 1470s in the context of a campaign to legitimise Sforza succession to the Visconti in Milan, was translated from Latin by Cristotoforo Landino and printed by Zarotto in 1490. Professor Wright will be publishing a full study of the function, iconography, dating and likely history of the three Sforziads, together with an analysis of a fragmentary frontispiece in the Uffizi. He will be showing that the frontispieces by Giovanni Pietro Birago in the Sforziads in the Bibliothèque Nationale in Paris, the British Library and the Uffizi were produced in conjunction with important Sforza births, while the copy in Warsaw contains clear allusions to the marriage and Bianca and Galeazzo. The Warsaw frontispiece (Fig. 7), signed by Giovanni Pietro Birago, includes a rich series of heraldic and other allusions to the Visconti, the Aragonese, the Sforza (including three linked rings for Bianca) and Galeazzo Sanseverino (Gideon’s dewy fleece). Most notably, in the amusing tableau at the base of the page, a series of mature putti without wings or childish dwarfs act out a little allegory in which the centrally seated “moor” (Ludovico) receives obeisance from a cast of characters, including a moorish young lady with blonde hair who enters on the arm of a young man, clearly representing Bianca and Galeazzo. Birago clearly enjoyed playing visual charades with childish actors. The inscriptions allude to the divine sacrament of marriage and the bride’s fecundity – the latter underlined by the rabbits. The history of the Warsaw Sforziad, which for many years was in the highly distinguished library of the Polish Zamoyski family, is being researched by Katarzyna Woźniak. Not least she is studying the rebinding of Zamoyski books, since it is likely that the portrait was removed during a rebinding of the Sforziad. Illuminations were certainly removed from some of the books in the library. The results of her researches will be published in the Bulletin of the National Library of Poland, alongside Wright’s study and a full report by ourselves on the technical investigations, which were also filmed by National Geographic. On the basis of Professor Wright’s suggestions, we undertook a close study and technical analysis of the structure and binding of the Warsaw book, followed by detailed inspections of the Paris and London volumes. These have demonstrated the binding of the first and second quires of the volumes and the way that they were designed to printed with blank pages to accommodate the illuminated frontispieces and other elements that would adapt the opening sections of each volume to their original dedicatees. Indeed, in the case of the Warsaw book, it is possible to demonstrate that one folio and a complete sheet have been removed, and that the vellum of the portrait closely matches in all respects the physical characteristics of the remaining sheets in the first quire. The most notable match is between the stich holes in the vellum of the portrait and those in the book. From what follows, it seems almost certain that the portrait was made for the Sforziad that was specifically printed on vellum for the marriage of Bianca and Galeazzo in 1496. Foliation and Stitch Holes Before looking in detail at the Warsaw Sforziad, it is worth recapitulating briefly the most relevant technical observations in the portrait itself. It is executed in a technique closely related to the trois crayons (three chalks) method pioneered by French artists in the Renaissance. White chalk, black chalk and red chalk are used to colour a drawing in ink and wash on a light yellow background (vellum) probably prepared with gum arabic, which may have been tinted with dilute burnt sienna.8 On its left edge, as we recorded in our book, are remains of three stitching holes, which have been partly filled by glue and restorations (Fig. 2 and 3). The page was excised by a sharp blade, since we can observe an incision about 6 cm-long within the left edge, where the blade has slipped during the effort to separate the page from its parent sheet (Fig.